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How to make a 3D photo? (in 5 minutes)

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Adobe Photoshop is a powerful graphic editor that allows you to make amazing compositions from ordinary photos. The technique of creating voluminous photos using Photoshop tools is one of those. Having studied the proposed topic, you can quickly add volume and dynamics to your photos yourself using standard Adobe Photoshop tools. This lesson is applicable to any version of the program. From Adobe Photoshop 5.5 to Adobe Photoshop CS6.

About Adobe Photoshop

Adobe Photoshop is one of the most popular packages for processing raster graphics. Despite the high price, up to 80% of professional designers, photographers, and computer graphic artists use the program. Due to its enormous functionality and ease of use, Adobe Photoshop dominates the market for graphic editors.

The rich tools and ease of use makes the program convenient both for simple photo correction and for creating complex images.

Theme 3. Improving photos. Lesson 8. Creating a voluminous "three-dimensional" photograph in Adobe Photoshop.

Photographs are undoubtedly important for each of us. This is a memory and, so to speak, illustration of the most vivid moments of life. But the image has one drawback. The picture, both on a computer monitor and in a “paper” print, is flat.

And often I want to emphasize the dynamics, drive, mood. Is it possible to return the volume to our photo? With the help of Photoshop - no doubt. At the last lesson, methods for enhancing the volume of photographs were considered. This lesson is a logical continuation. Based on the studied basic tools of Adobe Photoshop, we will create a bright, dynamic and voluminous photo in 10-15 minutes.

The following methods will be used for work:

  1. Select part of image and copy to a new layer
  2. Image Enhancement Using Adobe Photoshop Filters
  3. Photoshop Layering
  4. Layering styles.

The first three topics have already been covered in this Adobe Photoshop course. The text will contain links to lessons already posted.

In the meantime, let's talk about how we perceive volume. Any item interacts with those that are behind it. At a minimum, obscures them. The task of giving volume to a photograph comes down to two methods:

  1. Work with shadows, contours of objects: strengthening the boundaries of light and shadow
  2. Work with sharpness and blur in different areas of the photo

How it looks in practice, we began to study in the lesson "How to quickly and easily increase the volume of photos in Photoshop." But then the work was carried out with the whole image. Now let's work with fragments.

The practical part.

Selecting a fragment of a photo, cutting it off from the background is an effective way to attract attention to the image. Such photos look bright, spectacular, well remembered. The technique is often used in advertising, periodicals. And in home collections.

For work, we will take a horse’s photo, which is familiar with the topic of “highlighting”. As a "victim" could be a portrait of any person. Which, by the way, you can try to do with your photos.

First, the horse must be selected and placed on a new layer. How this is done is described earlier. You can use any tool. Starting from the “selection with the help of contours”, ending with the “selection through the channels”. The latter is probably the most justified, because allows you to most accurately identify the mane area.

So action algorithm

  • In any of the ways you are accustomed to, select a horse
  • Copy it to a new layer.
  • Make 1-2 copies of the horse layer (no background).
  • Select part of the image on the background and delete it. To do this, just click the "Del»

Tip: it is advisable to “release” the layer before removing part of the background - to remove the lock. To do this, double-click the icon with the left mouse button. the castle on the left side of the layer plate in the layer palette.

As a result, you should get something like this:

Next, go to the second layer (with a horse without a background). As you know, objects in the foreground tend to obscure the background. Adding shadow around the horse is done using the tools of the palette "Layer style».

To invoke the overlay style:

  • Select the layer to apply the effect to.
  • On the menu "Layers"Select"Layer style»
  • Next - any of the options in the drop-down menu. The general palette of settings for all tools opens.

Effects are included by setting a checkmark on the left side of the palette (opposite their name). To adjust the effects, go to the appropriate tab. This is done similarly to the transition between layers - by left-clicking on the corresponding line.

Briefly describe the main parameters of layer styles

  • Tool block "Shadow" adds a shadow from this layer. In this case, the color of the shadow, its properties and blending mode can be adjusted according to your desire.
  • Tool "Inner shadow." It works similarly to the previous tool. With one difference, a shadow is cast inside your image. This creates the effect of a “dented” or “recessed” edge.
  • Blocks Outer and Inner Glow responsible for highlighting the outer zones or inner edges of the image. Moreover, if you look closely at the settings of the instruments, the glow and shadow are one and the same. Turning tools into each other is simple - just change the blending color and blending modes.
  • Tool "Embossing" works with the edges of the image. Its algorithm is similar to the embossing filter, which was studied in the previous lesson. Embossing adds light and shadow to the borders, creating a volume effect.
  • Gloss. As the name implies, the task of this tool is to add glare and the so-called glossy effect.
  • Instruments Color Overlay, Gradient Overlay, Pattern Overlay fill the image area with color, gradient transition or texture, respectively. At the same time, it is possible to achieve both a complete replacement and combining in modes similar to the layer blending modes. Color, texture and gradient can also be adjusted by the transparency parameter.
  • Tool Stroke adds a contour around the layer. In this case, you can circle an object with a color, gradient transition or pattern. It looks very impressive when applied to the correct geometric shapes or, for example, text.

Comment: If your layer is locked or is background (which is basically the same thing) - layer styles cannot be applied to it. To fix the situation, remove the lock (convert to a regular layer). To do this, select the layer, double-click the lock icon.

Tip: You can also add a layer style from the panel “Layers". To call tools:

  • Select a layer in the "Layers».
  • At the bottom of the "Layers»Click on the icon f (x)
  • From the drop-down list, select the desired style.

When the style is set, additional icons will appear under the layer icon. You can edit the effect of the application (or cancel it altogether) in two ways:

  1. Double-click on the name of the effect. The corresponding settings panel will open.
  2. Select a layer. Then go to the settings panel via the “Layers» - «Layer style».

For further work, we need only two effects - “Shadow"And"Embossing". They have similar basic settings. Let's go through each of them:

Effect setting "Shadow»

  • Menu "Overlay»Is completely identical to overlaying. To the right of the drop-down list, you can select a shadow color. To do this, just double-click on the black square.
  • «Opacity"- a complete analogue of transparency when applying layers - adjusts the level of overlap of underlying pixels (information on the lower layers).
  • "Angle"- adjusts the angle of incidence of light. A shadow is cast in the opposite direction. A very important tool. The mismatch of the angles of light on the effect with the illumination of the image always gives an unsuccessful collage.
  • "Offset»Adjusts the distance from the object to the shadow. Indicated in pixels. Excessive levels of displacement can result in an “empty” border between the subject and the shadow.
  • "Swipe"- adjusts the size of the shadow itself. Given that the shadow is a gray area, which is then blurred, then the “Swipe” describes the size of the initial area of ​​the shadow. The bigger it is, the bigger the shadow
  • " The size"Is responsible for the level of blurring the shadow. The action of the algorithm completely repeats the work of the Blur mechanism. To understand the principles, it is enough to repeat the lesson “selection with blur”
  • Block "Circuit"Is responsible for the type of contour at the edges of the image. In fact, this is the bevel structure when creating the volume effect.
  • Paragraph "Mitigation"Adjusts the effect of blurring the extreme pixels. It is useful when applying shadow to a selection with sharp edges.

Effect setting "Embossing»

Dropdown menu style. It regulates the way the border is formed and on what pixels it is formed: inside the image or outside. We briefly describe each of the options:

  • «Inner bevel»Creates a face on the inner borders of the layer
  • «External bevel»Affects the underlying layers: a face is formed from the pixels of the substrate.
  • «Embossing"- imitation of indentation of a layer in the image lying below. A typical example is volume (high) printing in printing. Or, for example, Braille for the blind.
  • «Outline stamping»Similar to the previous tool. With one exception: the extreme pixels of the selected layer take part in the work.
  • «Stamping"Only works in conjunction with the effect of"Stroke". Allows you to limit the size of the bevel with the stroke area.

Method selection. The next block is responsible for the method by which the bevel will be created. The following options are available: Smooth, Hard Cut, and Soft Cut. The effects “Inner Glow” and “Outer Glow” have the parameters “Soft” and “Fine”. Let us dwell on each of them:

  • "Smooth" method - blurs the edges of the substrate. The method is applicable regardless of the selected effect. Very effective when working with small fragments.
  • "Hard cut»Establishes a rigid bevel, similar, for example, to cutting a face with a knife. Works effectively with objects of the correct geometry and text.
  • "Smoothed" provides better detail for small objects.
  • «Soft Cut » - a method similar to “hard cut”. With one “but” - forms smoother bevel angles. Good for emphasizing details at the edges.
  • "Soft" method. The name speaks for itself. Soft bevel, similar to a smudge of wax on a candle.
  • "Accurate" - extremely tough method. Forms a very accurate, contrasting border. Applicable to "inanimate" objects. When emphasizing natural forms, it looks unnatural.

Parameter "Depth" responsible for setting the bevel depth: the number of pixels from which the edge will be formed.

Size Options and "Offset" similar to the parameters of the effect "Shadow».

Tool block "Shading»Allows you to set the color of the shadow and the background. In fact - the illumination of the edges of the bevel, on which the light falls. Settings are similar to “Shadow».

Continued practice

Let's get back to practical work:

  • If you have not created a copy of the horse layer yet - it's time to do it
  • Go to the bottom of the cut animal layers
  • Having dealt with the parameters, form a shadow from the horse. Try to ensure that the shadow falls in the direction of light of the main photo, or at an angle of 90 degrees to the illumination vector. In all other cases, the result will not look natural.
  • To emphasize horse volume, set small embossing levels. Considering that the photograph posted on the site has only 800 pixels horizontally, the size parameters are limited to 10-15 pixels. And mitigation is the 10th.

However, the presence of a bevel around the horse and the "flat structure" of the image itself look unnatural.

  • In order to improve perception, remember the previous lesson on increasing volume.
  • Select the layer that lies above the one you just worked with (copy of the horse).
  • Apply one of the filters to this layer. For example "Embossing» («Filter"-" Stylization"-" Embossing»)
  • After that, adjust the layer blending method and its transparency.

As a result, the layer style is responsible for the bevel at the edges of the horse's figure.

And we form the skin structure and the volume of the figure by overlaying a copy.

If necessary, you can additionally apply the volume effect to another copy. And also "play" with blending modes.

But, as can be seen from the previous figure, the game with volume led to unpleasant effects: there is a white border around the horse’s legs (on the grass).

To get rid of it:

  1. Choose an eraser with soft edges and low opacity and pressure
  2. Starting from the bottom layer, process the edges with an eraser
  3. Repeat on all horse layers (except for the background layer)
  4. Repeat steps 2-3 until the unpleasant effect disappears or satisfactory results are obtained.
  5. Use the layer style to emboss and shadow the background image.
  6. Place another image under the background image, or add a layer below and fill it with color. (for clarity, the author deliberately "turned" the shadow from the background to the other side).

The result will be something like this image (or superior in quality):

3. 3D portrait wireframe and distortion tool

After that, you will have to go to the so-called displacement map and choose the frame of the face shown in the photo.

Offset map and 3D portrait tool

Using a special scale, you can view the frame of the face from a comfortable position.

Scale for turning the head frame

After you have chosen a viewing angle, you should impose a 3D grid on the portrait. After that, you will need to change the size and shape of the frame so that it matches the facial features. Please note that you do not need to be as precise as possible in this process.

The main thing is to achieve the similarity of the 3D mesh with the head of the person shown in the photo. To do this, use the distortion tool, with which you can change the wireframe as you like. The location of the eyes, the shape of the ears and lips - all this is easily adjusted using the distortion tool.

We put the frame on the head. Select the distortion tool and start editing the frame of the head. Finished result

5. Setting frames

After the focus parameters have been set, you should return to the main composition.

Main composition

Now you can rotate the image, seeing how it can move.

By clicking on a specific place in the photo, you can rotate it a bit like this

Next, in the photo, you should choose two key frames where the animation of the 3D photo will begin, and where it will end. In this case, the animation will move from left to right. To achieve this result, both key frames are placed in the middle of the vertical plane and along the edges of the horizontal.

The first frame The second frame

That's all. Thus, in just a few minutes, you can create 3D images with a simple portrait photo on hand.

If you are interested in working in After Effects, pay attention to the course. Super After Effects 2 from the Videosmile team. Over 90 practical lessons tell you all the intricacies of working with AE.

You can also learn the basics of working with Adobe Illustrator using the course. Super Illustrator.

The volume of the object in the subject photo

For this, artists use this formula: flare, light, midtones, own shadow, reflex, falling shadow.

Update: 11.16.2013

I shot these dragon eggs for an art gallery and decided that they just fit as an illustration.

Posted by: vergina
http://demiart.ru/forum/index.php?showtopic=14418

I will then draw my ball and cube and replace it. just do not have time.

Update: 11.16.2013

I never painted, but I found one of the compositions that I shot for a jewelry workshop, with a rectangular parallelepiped at the base.

Shine - This is the surface area of ​​an object that receives the largest flow of direct rays of light.
Semitone - the surface area of ​​an object illuminated by moving beams of light. A halftone is divided into a semitone of light and a semitone of shadow.
Shadow (own shadow) - a part of the surface of the object where direct and moving rays of light do not fall. This is the darkest area on the surface of the subject.
Flare - It happens on shiny or varnished surfaces, most often in the light.
Reflex - a part of the shadow surface of an object receiving a stream of reflected light rays from surrounding objects or from the surface on which the object is located.

All this applies fully to photography, if we are talking about a subject photo.

the author of both examples of the photo: D. Evtifeev (I) (filmed for numismatists)

What is the difference between left and right, except for the background?
Which photo seems more voluminous and why?

photo author: I, shot for my blog.

Answer: Everything is simple. The left photo has fewer signs of volume from the list than the right.

So, in order to give a photo of volume, you need to try to reproduce as many signs of volume as possible.

Allow subject to have shadow or dispense with shadow?
Will the object have glare or make the surface matte?
Will there be deep shadows or highlight them?
Will there be halftones or will there be a strong contrast?

The photographer answers all these questions, guided by TK and the desire to give the object volume, because it is the photographer who controls the light sources in subject shooting.

Если знать эти принципы, то почти любой объект можно упростить до шаров и кубов и далее работать над их объемом с помощью отражателей.

автор фото: я (Евтифеев Д.С.), снято для ювелирной мастерской.

Важные моменты

Кроме всего прочего, есть еще один момент, который придает объемности. The division of the picture into plans - front and rear, as well as when one object obscures the other. Plus a geometric perspective.

As you can see, in this case we act not on the eyes, but on the brain, creating the illusion of volume.

Object volume in landscape photography

Landscape photo differs from the subject in that we do not control light sources. We can only choose a suitable angle, time and place of shooting, so that the lighting that we need is formed.

Some parameters of volume transfer in landscape photography, we nevertheless can control to a limited extent.

Linear perspective

If you go outside and look into the distance, you can observe the following phenomena:

- the width of the street as it moves away from the observer will seem less and less, despite the fact that in fact the width of the street is the same throughout its entire length,
- electric and lampposts being equal in size, as they are removed, they will appear less and less,
- similarly, the buildings will seem the smaller, the farther they are from the observer,
- the rails of the tramway, being parallel, are perceived as intersecting lines in the distance.

Similar effects of long-term reduction can be observed everywhere. Each object we see, we see not as we know it, but necessarily in perspective distortion.

Linear perspective example in the photo. (all objects, as was said, are distorted, but here a linear perspective is striking).

Aerial perspective

When choosing a place and angle of shooting, it is worth considering what will be in the foreground of the picture, and what will be in the background.
Plans may vary in brightness or sharpness. So, it is common for our brain that the foreground is sharper, and the background is as if in a haze. This is called an aerial perspective.

Artists are actively using it.
In general, the artists were the first to discover all the ways to create the illusion of volume.

Examples of aerial perspective in the photo

example of aerial perspective

Tonal perspective

Among other things, I want to draw your attention to the warm and cold colors in the paintings. Of course, you saw modern tinted photos where shadows go into cold tones and lights go into warm. Now you know that it was invented a long time ago :)

Closer objects in the picture are usually depicted in warm or natural colors, and distant ones in bluish. So we see them in life since we see distant objects through a thick layer of air, which itself usually has a blue color (weakly distinguishable at low densities).

Examples of tonal perspective in the photo

Physiological characteristics of human vision

Among other things, there is a little trick that artists use, since they know the peculiarities of a person’s vision, how he looks at a picture. One of the features is the connection in our brain of the need to move the gaze and the size of the object. If the eye is forced to move around the object, then the object is removed from the foreground or it is large.

For example, you can put on diagonal lines that a person will unconsciously trace with his eyes and he will create an additional sense of perspective. Among other things, if distant objects follow the rules of geometric perspective, then the feeling will be more complete.

How to convey the volume in the photo: 23 comments

In the transmission of volume, light, in my opinion, comes first. All sorts of perspectives should be used only to enhance the illusion of volume. Unfortunately, in one linear perspective you will not go far. That is why landscape photographers prefer "regime time" with perfect photographic light.

Sergey, everything is used in the complex. You will not leave in the same light. Just the better the photographer knows these tools, the more often he gets successful shots

The left photo has fewer signs of volume from the list than the right.

But it seems to me that the left seems more voluminous. Am I a hare? :)

Only the black background is not in plus volume.

Thanks for the article, IMHO very sensible.

We are all in some way hares :)

In fact, it was a glitch of the comparison plugin, it swapped the pictures. Now I fixed it.

Thank you for paying my attention to this failure!

The background in this case is not important, I just did not shoot. Someday my hands will reach and I will do it more thoroughly. This was the first more or less detailed article on the Internet about what is actually a “three-dimensional photo”. It’s even strange that no one before me wanted to cover the issue. And after that they wrote it “based on motives”.

We tried to reveal the topic of volume in photography in one article as much as possible. Compositional things also affect the illusion of volume, but light is beyond competition. I liked the book “Lighting in Photography. The Bible of the Light. "Phil Hunter, Stever Beaven. And one more worthy guide to the light in photography “Still Life. Lighting Technology Guide »Roger Hicks and Francis Schulz. This will not hurt to read who is interested in the topic of volume in photography :-)

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